Аннотация:The article explores the category of interdiscursivity from a perspective of its realization in films. As a point of departure, the historical ties of the avant-garde and cinema are analyzed in terms of interdiscursivity. Literary and artistic works of the representatives of the Russian avant-garde are characterized by a number of innovations that are relevant for the understanding of the interdiscursivity in cinematography as art. The established avant-garde foundations of interdiscursivity make it possible to define it as a linguocreative appropriation of discourses and to elaborate a methodology of its study in films. The film “Stalker” is selected as an object of research due to the fact that Andrey Tarkovsky’s innovative cinematic approach makes his works akin to the approaches of art innovators of the avant-garde epoch. The specificity of the interdiscursivity of “Stalker” is determined both by a significant degree of transformation of its literary basis and by a varied appropriation of certain types of discourse in the process of making a film as an original artistic-aesthetic object. Elements of different types of discourse act as linguistic and creative means that influence the heuristic potential of the verbal system of a film.
